In the last few years of the twentieth century, there is emerging a significant shift in the sensibilities and outlooks of critics and artists. In fact, I would go so far as to claim that a new kind of cultural worker is in the making, associated with a new politics of difference. These new forms of intellectual consciousness advance new conceptions of the vocation of critic and artist, attempting to undermine the prevailing disciplinary divisions of labor in the academy, museum, mass media, and gallery networks while preserving modes of critique within the ubiquitous commodification of culture in the global village.